Mozart’s Requiem.
[A short time before the death of Mozart, a stranger of remarkable appearance, and dressed in deep mourning, called at his house, and requested him to prepare a requiem, in his best style, for the funeral of a distinguished person. The sensitive imagination of the composer immediately seized upon the circumstance as an omen of his own fate; and the nervous anxiety with which he laboured to fulfil the task, had the effect of realising his impression. He died within a few days after completing this magnificent piece of music, which was performed at his interment.]
“These birds of Paradise but long to flee
Back to their native mansion.”
“Prophecy of Dante.”
A requiem!—and for whom?
For beauty in its bloom?
For valour fallen—a broken rose or sword?
A dirge for king or chief,
With pomp of stately grief,
Banner, and torch, and waving plume deplored?
Not so—it is not so!
The warning voice I know,
From other worlds a strange mysterious tone;
A solemn funeral air
It call’d me to prepare,
And my heart answer’d secretly—my own!
One more then, one more strain,
In links of joy and pain,
Mighty the troubled spirit to enthrall!
And let me breathe my dower
Of passion and of power
Full into that deep lay—the last of all!
The last!—and I must go
From this bright world below,
This realm of sunshine, ringing with sweet sound!
Must leave its festal skies,
With all their melodies,
That ever in my breast glad echoes found!
Yet have I known it long:
Too restless and too strong
Within this clay hath been th’ o’ermastering flame;
Swift thoughts, that came and went,
Like torrents o’er me sent,
Have shaken, as a reed, my thrilling frame.
Like perfumes on the wind,
Which none may stay or bind,
The beautiful comes floating through my soul;
I strive with yearnings vain
The spirit to detain
Of the deep harmonies that past me roll!
Therefore disturbing dreams
Trouble the secret streams
And founts of music that o’erflow my breast;
Something far more divine
Than may on earth be mine,
Haunts my worn heart, and will not let me rest.
Shall I then fear the tone
That breathes from worlds unknown?—
Surely these feverish aspirations there
Shall grasp their full desire,
And this unsettled fire
Burn calmly, brightly, in immortal air.
One more then, one more strain;
To earthly joy and pain
A rich, and deep, and passionate farewell!
I pour each fervent thought,
With fear, hope, trembling, fraught,
Into the notes that o’er my dust shall swell.
[One of the peculiar features of the increased sensitiveness of her temperament at this time, was an awakened enthusiasm for music, which amounted to an absolute passion. “I do not think,” she wrote, “that I can bear the burden of my life without music for more than two or three days.” Yet, with sensibilities so exquisite as hers, this melomania was a source of far more pain than pleasure; it was so impossible for any earthly strains to approach that ideal and unattainable standard of perfection which existed within her mind, and which she has shadowed forth with a mournful energy in “Mozart’s Requiem.”
From time to time, however, she had enjoyment of music of a very high character, for much of which she was indebted to her acquaintance with Mr Lodge, the distinguished amateur, by whom so many of her songs have been set to melodies of infinite beauty and feeling. At a somewhat later period she derived much delight from the talents of Mr James Zengheer Herrmann, from whom, for a time, she took lessons, for the express purpose of studying, and fully understanding, the Stabat Mater of Pergolesi, which had taken an extraordinary hold of her imagination. This fine composition was first brought to her notice by Mr Lodge, to whom she thus expressed her appreciation of it:—“It is quite impossible for me to tell you the impression I have received from that most spiritual music of Pergolesi’s, which really haunted me the whole night. How much I have to thank you for introducing me, in such a manner, to so new and glorious a world of musical thought and feeling!”—Memoir, p. 167-8.]